Transformation 8

Transformation 8: Contemporary Works in Small Metals, the 2011

Elizabeth R. Raphael Founder’s Prize, was made possible by Alexandra, Catherine

and Margaret Raphael, the Elizabeth R. Raphael Fund of the Pittsburgh

Foundation, the Allegheny Regional Asset District, The Fine Foundation, the

Pennsylvania Council on the Arts and the Society of North American Goldsmiths.

Our mother’s passion for art influenced everything she did in her life.

She was committed to bringing art to her community. She was particularly interested in supporting emerging artists. The Society for Contemporary Craft reflects this commitment.

Our mother passed her interest andenthusiasm for the arts along to the three of us and impacted our life choicessignificantly.

This award allows us to honor her andshare her legacy.

Alexandra RaphaelCathy RaphaelMargaret Raphael

TransformationContemporary Works in Small Metals

The Elizabeth R. Raphael Founder’s Prize Exhibition

February 3–June 30, 2012

Society for Contemporary Craft

2100 Smallman Street

Pittsburgh, Pennsylvania 15222

www.contemporarycraft.org

412.261.7003

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Acknowledgements

With this exhibition, Transformation 8: Contemporary Works in Jewelry andSmall Metals, we present the 2011 edition of the Elizabeth R. Raphael Founder’sPrize series, which recognizes excellence in the field of contemporary craft. This series was inaugurated in 1997 in honor of Elizabeth Rockwell Raphael,founder of the Society for Contemporary Craft and a longtime figure on thenational craft scene. We are deeply grateful to Elizabeth Raphael’s daughters—Alexandra, Cathy and Margaret—for suggesting and funding this importantprize in honor of their mother. As with the previous shows, this exhibition continues the theme of Transformation, an appropriate focus for an exhibitionhonoring Elizabeth Raphael, a woman who believed passionately in the transformative power of art to change lives.

This year’s exhibition is dedicated to the memory of Margaret, ElizabethRaphael’s youngest daughter, who passed away on December 19, 2011.Margaret had an indomitable spirit, a “can do” attitude, and a deep desire tobring about positive change in the world. The arts were always an importantpart of Margaret’s life (she trained as an actress and also worked as a film producer) but she also had a deep and abiding passion for the environment and the welfare of animals. Margaret launched many ambitious enterprisesover her lifetime, such as Ooh Mah Nee Farm, a sanctuary in WestmorelandCounty for abused, abandoned and neglected farm animals that she co-foundedwith her daughter in 1996. She also opened two vegan restaurants namedMaggie’s Mercantile, one in Stahlstown, Pennsylvnia, and one in Pittsburgh,and later launched Maggie’s Organics, selling healthy food products from herorganic farm. She truly lived her values and was always focused on trying to make the world a better place.

Along with her sisters, Margaret had served on every Raphael Prize jury sincethe inception of the prize 15 years ago, and had a hand in selecting this year’sfinalists. Her lively engagement as a juror added richness to our discussions,something our guest jurors particularly enjoyed and often commented on.Margaret had a creative mind, a zany sense of humor, and a strong aestheticinfluenced by growing up with Betty Raphael as her mother. We celebrate thegood work, light and inspiration that Margaret brought to our organization, and to the world through her life. She will truly be missed.

Transformation 8 features outstanding examples of contemporary small metals and jewelry created within the last year by 33 finalists selected by thesix-member jury following an initial slide screening process. In choosing theprizewinners, the jurors were looking for innovative approaches by artists whoare pushing the envelope with techniques and fresh experimentation withmetal. In particular, they wanted pieces that would challenge or surprise viewers, moving them beyond their own frames of reference for small metalsand jewelry. They were concerned with high quality execution that would help raise standards of excellence in the field, and with how the theme of transformation had been addressed. Additionally, this year’s guest jurorsencouraged the panel to consider which artists they felt should be supportedfinancially to encourage them to go forward with their work.

Margaret RaphaelNov. 8, 1948 –Dec. 19, 2011

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Since the inaugural 1997 Raphael Prize was awarded to German glass artistSibylle Peretti, international artists have maintained a strong presence amongthe Raphael Prize finalists. In 2001, Susan Rezac, a Czech Republic-born metalsmith currently living in Chicago, Illinois, won for her necklace, OpusTessellatum, a technical tour-de-force in married metals. In this year’s edition,eight of the 33 finalists are international, providing an expanded look at someof the work being done in the metals field beyond the US, and reflecting theincreasingly global perspective in the field. The $5,000 Raphael Prize wasawarded to Meghan Patrice Riley for Interstitial, a necklace that juror BrucePepich described as “a line drawing in space that floats on the body.” Thejurors also felt so strongly about the entry by Mari Ishikawa, a Japanese-bornartist currently working in Germany, that they added a second-place $1,000cash prize for her entry, Parallel World, a deeply expressive brooch in silver and Japanese kozo paper. Honorable mentions were awarded to seminal metalsartist Bob Ebendorf and Daniel DiCaprio.

An exhibition like this requires months of behind-the-scenes preparation andgroundwork from the dedicated staff at Contemporary Craft and I gratefullyacknowledge their countless contributions to this year’s show. I especially wantto recognize Director of Exhibitions Kate Lydon for her leadership and dedicatedprofessionalism in coordinating this exhibition and for her insightful participation as a member of the jury panel; our veteran Raphael Prize volunteer Suzie Scott, who once again flew back and forth between Californiaand Pittsburgh to provide countless hours of support throughout all phases of the exhibition development; and Paul Schifino, for another beautifullydesigned book in our series of Raphael Prize publications.

We acknowledge with thanks the additional support of the Allegheny RegionalAsset District, the Pennsylvania Council on the Arts, The Fine Foundation, theSociety for North American Goldsmiths and the many other foundations, corporations, and individuals whose belief in us, supported by their financialgenerosity, make it possible for us to carry out our mission of engaging thepublic in the creative experience through contemporary craft. We also thank thejurors for their commitment to selecting a show that provides an exciting lookat current trends in the field—Alex Raphael, who joined us by Skype fromLondon to participate in the final prize selection, Cathy Raphael, and guestjurors Bruce Pepich and Natalya Pinchuk, whose suggestion of a dialogue format rather than a traditional essay for the catalogue resulted in a thought-provoking and lively conversation in print.

We hope you enjoy the show as much as we have enjoyed bringing it together.

Janet L. McCallExecutive Director

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A conversationbetween the Elizabeth R. Raphael Founder’s Prize Competition Jurors Natalya Pinchuk and Bruce W. Pepich

Bruce W. Pepich: Natalya, in general what do you look for when you jury anartists’ competition?

Natalya Pinchuk: I have to confess that I have very limited experience with jurying. But walking into the first round of jurying, I was both excited to get afresh glimpse of the metals field and at the same time to choose diverse points of view within it.

Pepich: I think it can sometimes be a challenge for a studio artist to serve as ajuror. They are required to balance their personal commitment to their own aesthetic with widening their point of view when making selections, while notover-compensating in the process. As someone who teaches, you have a broadbackground in looking at different kinds of aesthetic statements within themedium and you brought this experience to the jurying.

Pinchuk: I actually stopped teaching a year and a half ago. By the end of fiveyears of full-time teaching I definitely learned to embrace and appreciate opinions and strategies other than my own. So, yes, I believe my teaching background has certainly contributed to an organic and balanced juryingprocess, despite having my own strong opinions and, I am sure, not failing to express them.

Bruce, what do you look for when you jury an exhibition? You have considerably more experience than I do in this area.

Pepich: As the two guest jurors, I think we made an interesting pair because werepresent two different generations. I jury one or two shows a year and I havejudged over 60 competitions, not just in metals but in most craft media, as wellas works on paper. In selecting work, I look for diversity because there is noone style in any medium right now that is overwhelmingly the anointed methodof expression. I’m seeking two things that are sometimes difficult for artists todeliver on: a unique voice that an artist is expressing in his/her work and consistency. If I am looking at five or six examples within one submission, Idon’t want to see six different, unique ideas because it looks as if the artist hasnot settled on the statement he/she wishes to make. We both looked for thisfrom different points of view. As we juried, I could see us tap-dancing back andforth with each other to where we could both find this same quality. We mighthave had different criteria in our minds, but there was a dialogue that tookplace and this was not a cold incommunicative voting process.

Natalya, we have touched upon the first round of the jurying process. I am curious to know your thoughts about the final selection of the Raphael Prizefinalists from the work that was submitted for the exhibition. Everyone on thejury panel gravitated to the works of the four finalists for the prize very quickly.Why do you think these four pieces stood out to everyone on the jury?

Pinchuk: Obviously, there are individual qualities that make each piece delightful but all four finalists’ pieces felt complete and yet effortless. These twoqualities are actually very difficult to achieve. At the end of the day, great workis not necessarily about the amount of labor exposed and paraded in a piece,

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but rather in the amount of visual delight and mental sparks it creates for theviewer. I think all four finalists achieved this.

Bruce, why did these four pieces stand out for you?

Pepich: As we were beginning the final jurying process, we spoke about someof the criteria for selecting the winner. This included seeking high quality work, a consideration of the concept of transformation, and acknowledgingworks that were fresh and had a sense of experimentation. You also spokeabout us remembering to look for works that we really enjoyed—pieces thatspoke to our heads and our hearts. I think each of these four works met thesecriteria for the six members of the panel. We came to a consensus on the four finalists very quickly.

Natalya, what were the individual qualities of the finalists’ pieces that youfound engaging?

Pinchuk: Well, I thought that the necklace by Meghan Riley was refreshing. In the images, her necklace looked very simple but what a delight it was to lookat it in person and hold it in my hands! It was both a lively and ever so slightlyshifting drawing, a whimsical object and a piece of very wearable andapproachable jewelry all at the same time. Mari Ishikawa’s brooch is the kind of work you can look at for hours and discover something new. She is able tocreate a really complex interplay of surfaces and organic forms that in a delicate way reference moments where beauty and decay coexist in nature. Bob Ebendorf continues to kick ass. So many people try to do this kind of work,transforming the value of found materials, but fail miserably. While all the elements in the brooch are found objects, everything comes together into aneffortless composition and at no point do you question that they are meant tobe together. Daniel DiCaprio’s necklace balances the classical role of a necklacewith the quirky, mysterious, organic forms. The surface that he is able to create through the repetitive tiny silver dots in the wood is gratifying.

Bruce, what stood out for you in the finalists’ pieces?

Pepich: I admired the way that Ishikawa and DiCaprio both referenced elementsof nature in their pieces, but in different ways. They are both organic works, but DiCaprio’s forms are more structured and constrained as if his “specimen”from nature were captured in a bell jar for examination. Ishikawa’s brooch isevolving in front of our eyes as if we have just come upon it during a walk outdoors. Ebendorf just keeps pulling something new out of his hat each timehe comes out of the studio. This brooch talks about the nature of preciousness,beauty, and value on multiple levels. It is difficult to categorize this stage of his career, for some might consider this his “late” work. However, there is nothing late about Ebendorf’s work—it is totally current with conversations inthe field and still leading some of them as in this piece. As for Riley’s neckpiece,I also looked at it as a three-dimensional drawing, at first. She has created a relatively large and, at the same time, delicate structure that constantly changesas you look at it, handle it and wear it. It is intellectually engaging, but alsoplayful in a serious way. It’s like a jazz riff on the concept of a beaded necklace,as the small gold beads move in space along a thin wire.

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Pinchuk: Outside of this exhibition, what types of work and statements do you specifically look for when curating an exhibition?

Pepich: In art jewelry, I like to combine artists working in both precious andnon-precious materials. I’m very interested in the dialogue about value and worth in jewelry, narration, and the idea of the body as the place on whichthe jewelry is sited. Curating a show is like organizing an intellectual dinnerparty or a panel for a symposium. You want artists who create different kinds of work and you want their works to engage in a conversation or dialogue with each other and with the viewer. When I curate, I get to pick the pool I’mselecting from and when you serve on a jury, you’re dealing with the entries as a closed set.

Natalya, what kinds of work or statements do you find intriguing?

Pinchuk: In the last couple of years, I find myself attracted to work that reflectsand connects to contemporary life more than the insular dialogue that oftenhappens within academic arts. So I am drawn to work that has authenticity anda relationship to concerns of everyday life, to what we listen to on the news, towhat we see on the street, something that I can actually make sense of andconnect to, but in a new and fresh way.

Pepich: I think freshness or immediacy was something that we both soughtthroughout this process. Even when I was looking at some of the more “traditional” pieces, I was still looking for work with a fresh point of view. Thecompetition and exhibition incorporate small-scale metal sculpture and thishelps move the conversation outside the “adornment only” category. We sawbodies of work that pushed the medium beyond its usual association withadornment. However, the vast majority of the pieces we saw were wearable in some way or related to the wearable concept.

Natalya, how did the entries coincide with your views of the issues that artistsare currently addressing in the larger contemporary metals field?

Pinchuk: I noticed that some trends were not reflected in the submissions. I didn’t think that, for example, the performative or installation work wasexpressed in the submissions at all. I expected to see more work dealing withcomputer technologies, as well as ethical sourcing of materials as a topic andtrend in itself. What I did see reflected in the submissions was a split betweenthose who value excellent, solid craftsmanship and skill above anything elseand those who were more interested in expressive ways of working, whetherthat fulfills the traditional conception of craftsmanship or not. The large numberof jewelry submissions definitely surprised me. If I were to judge the state of affairs of the metals field by these submissions alone, I would think that thesmall metal object today has gone out of style.

Pepich: Someone could walk into the show and their initial comment might be,“Well, the judges obviously were more interested in jewelry than in sculpturalwork.” This could happen because I’m not picking it or because it wasn’tentered. If that kind of work was not represented by an entry, it cannot beincluded in the exhibition. Some of the ways of working you’ve mentionedwould lend themselves beautifully to the concept of transformation, especially

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installation or performative works. However, one has to remember that jurorspick from what is submitted. I don’t want this to sound like we’re denigratingthe entries in any way. It’s just interesting to look at submissions and to try to determine what this says about the metals field in general. The prominenceof jewelry in this competition strikes me as being similar to the level of visibilityit has in a lot of shows that incorporate art jewelry with other craft media. Part of the reason for this is that there is a lot of incredibly well-crafted jewelrybeing created right now in this country and internationally and there’s an audience for it. The market for art jewelry can also be somewhat recession-proof when compared to other media because of some of the emotional andsymbolic ways we have come to use jewelry in our society.

Pinchuk: What I find interesting is that the trend within art jewelry, for a whilenow, has been to move away from precious materials. More and more thevalue is put on the creative, artistic vision of the artist and his/her ability tomanipulate materials, precious or not, into a unique expression—a special kind of object that allows us to see beauty that is somehow innate yet revealedto us by the artist. I find that fascinating in relation to what you just mentioned,about how jewelry is a recession-proof object. Increasingly, I find that experimental jewelry puts its bet on the art market and the mythology of theartist able to create something unique. And, as we saw in the submissions, a large number of small metals makers have moved beyond the metal itself as the primary focus of their work.

Pepich: Yes, it ties in with what we’re seeing across the board in other media.Younger artists don’t necessarily want to be affiliated with a specific medium.They want to move from material to material, to work with any media that willallow them to execute their ideas. They don’t necessarily see themselves asmetalsmiths, but as artists who make personal adornment or small-scale sculptures. I think these artists will bring new concepts to craft media. Then, the next generation will say, “I want to be a silversmith and fully explore thismaterial.” This is how things change over time. I think that’s how a fieldadvances—by those different points of view coming to the forefront and thenmoving on. I think this exhibition does reflect that, not just in what we selected, but in what was submitted, as well.

Natalya, has the process of serving as a juror changed you in any way?

Pinchuk: It was a wonderful experience during which I got to see new work byartists whom I know very well and fresh artwork, unknown to me, but at thispoint I am not yet aware of how it has changed me.

Pepich: I find every jurying is a unique experience. You know the rules and how it’s going to function from a logistical standpoint, but each jurying hasalways been a surprise to me. You find something that you didn’t think ofbefore you walked in the door. You’re exposed to work that takes your head offyour shoulders and puts it back on in just a slightly different angle—it’s an educational experience. Plus you meet other jurors and share ideas during theprocess. All of this is part of how an artistic community connects on an intellectual and an emotional basis. I think both of those things are an important part of how a field develops.

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10 FARRAH AL-DUJAILI

12 TALYA BAHARAL

14 MELISSA CAMERON

16 DAVID CHOI

18 CAPPY COUNARD

20 KIM CRIDLER

22 LISA & SCOTT CYLINDER

24 DANIEL DICAPRIOHonorable Mention

26 ROBERT EBENDORFHonorable Mention

28 SANDRA ENTERLINE

30 DIANE FALKENHAGEN

32 JULIA HEINECCIUS

34 CAROLINA HORNAUER OLIVARES

36 HEEJIN HWANG

38 MARI ISHIKAWA Second Prize

40 LINDA KINDLER PRIEST

42 CLAIRE LAVENDHOMME

44 SEUNG-HEE LEE

46 ROBERT LONGYEAR

48 JILLIAN MOORE

50 EMANUELLA DEYANOVA RAMJULY

52 MEGHAN PATRICE RILEYThe Elizabeth R. Raphael Founder’s Prize Winner

54 DEBORAH RUDOLPH

56 BIBA SCHUTZ

58 VICKIE SEDMAN

60 SAMANTHA SKELTON

62 ANIKA SMULOVITZ

64 LIN STANIONIS

66 AMY TAVERN

68 ANDREA WAGNER

70 STACEY LEE WEBBER

72 LISA WILSON

74 STEPHEN YUSKO

The Artists

Untitled

For me, drawing is an intuitive and subconscious process. The pairing of

forms in this brooch suggest the before and the after, balanced in a state

of delicate tension, prior to the act of complete transformation. The quality

of line conveys an organic rhythm, while negative space implies as much

in gluttonous form, as the visible wire. I apply pencil, crayon and watercolor

markings to the surface of the enamel paint, and use these color gradients

to enhance the proposition of an inanimate form coming to life.

FARRAH AL-DUJA

ILI

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SOURCE : Concept sketch for Untitled

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Untitled, 2010

Copper, enamel paint, watercolor, pencil, thread

3 1/8'' × 4'' × 3''

Photo: Farrah Al Dujaili

Aura #10

Shifting qualities of beauty transform the landscape that I make my own.

I capture the light and the mystery of fleeting shadows; cropping the

setting with the eye of a black-and-white photographer. Dodging and

burning the grainy print; revealing the striations of the earth; pulling out

the lens to expose the division of the land; zooming in to show the

texture of the ground.

Staking a claim to this patch of land. I evoke the qualities of that ethereal

silver gelatin black-and-white print in metal. The bezel is my fence,

containing and transforming this precious landscape, marking the

boundaries and making it my “jewel.”

TALYA BAHARAL

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SOURCE : Concept sketch for Aura #10

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Aura #10, 2010

Sterling silver, stainless steel, bronze

3 5/8'' × 1 5/8'' × 3/4''

Photo: Gene Gnida

Internalised

This work highlights the decorative band that encircles this mid-20th

century, Indonesian, silver plate. Aside from an aesthetic role, the rim of

any plate functions to guard its contents. By altering the plate, the rim’s

function changes from edge or border to focal point; drawing attention to

the artistry and artisanship that gave rise to these iterations of familiar

patterns. Envisioning the plate’s likely origins in Southeast Asia, one can

contemplate transmission of pattern motif—like pomegranate and

acanthus leaf—to distant lands far from the subject’s origins.

MELISSA CAMERON

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SOURCE : Process photos for Internalised

Photos: Melissa Cameron

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Internalised, 2011

Silver, stainless steel

1'' × 10 1/2'' × 7''

Photo: Melissa Cameron

Untitled

I create forms according to a particular material, format and function,

and to the laws of structural economy. The basic surface of steel sheet when

joined to others like it gives these structures their particular form; just as

theoretically a mineral could take on an infinite number of forms while

at the same time remaining recognizably itself, classifiable according to its

particular kind. The nerve of a leaf, or the geometric elements of a mineral,

quartz crystal or cubic pyrite, are the natural structures of matter. The

work makes apparent that I am subconsciously drawn to geometry and its

mathematical arrangement.

DAVID CHOI

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SOURCE : Concept sketch for Untitled

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Untitled, 2010

Silver, aquamarine

2 1/2'' × 3 3/4'' × 3''

Photo: David Choi

Perceptions

Life can only be viewed through a personal lens of experience. We make

conclusions based upon our available knowledge. Often we assume our

perspective is true, only to later learn something that completely shifts our

perception.

Perceptions offers a metaphor for these layers of knowledge and the

constantly changing landscape of our interactions. When closed, interior

elements are both partially revealed and partially obscured. This allows

our imaginations to make assumptive connections about the unseen. Once

the outer layer is removed, the true nature of the piece becomes clear.

The pearl inside represents the sometimes surprising and elusive truth.CAPPY COUNARD

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SOURCE : Concept photo for Peceptions

Photo: Cappy Counard

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Peceptions, 2011

14k gold, sterling silver, meerschaum stone, pearl

1 1/4'' × 2 1/4'' × 2 1/4''

Photo: Robert Mullen

Bittersweet

I believe in the power of objects to record and extend our lives. My practice

is concerned with the humanity that exists in acts of containment and

collection, and in the generative potential of ornamentation. One of the

ways in which I have framed these interests is through the vessel’s format.

Urn and vase forms serve as icons of continuity; symbolizing collection

as well as abundance and ceremony. Bittersweet uses structure, pattern

and ornamentation to address the dynamic and endlessly transformative

experience of living and dying.

KIM

CRIDLE

R

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SOURCE : Concept sketch for Bittersweet

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Bittersweet, 2011

Steel, bronze, copper, silver, amber, howlite, beeswax

21'' × 25'' × 19''

Photo: Jim Escalante

Trio

Transposition, the changing of music from one key to another, has been

the theme of our recent work. For Trio, we have taken this process one step

further. Referencing Pablo Picasso’s painting, Three Musicians, we have

constructed a three-dimensional interpretation. The individual players in

Trio, each a unique brooch, were assembled with deconstructed musical

instrument parts, chosen for their formal qualities of color, shape and form.

The concept is circular: a two-dimensional painting re-imagined in three-

dimensional form. By presenting the brooches within a frame, we bring the

work back to the wall where our inspiration began.

LISA & SCOTT CYLINDER

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SOURCE : Concept sketch for Trio

Photo: Scott Cylinder

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Trio, 2011

Mixed metals, plastics, woods

4 3/4” × 6” × 1 1/8''

Photo: Scott Cylinder

Colony Necklace

The pieces I make in wood and precious metals explore my interest

in adaptation. The forms I work with stem from plant and animal anatomy

and often combine different aspects from each. I use metal wire as a

surface embellishment to reference hair. During my process of making,

I often reflect on people’s roles in the living world. I think about how we

evolved to the place we are in currently, and what other possible changes

could happen in the future.

DANIEL DICAPRIO

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SOURCE : Concept photo for Colony Necklace

Honorable Mention

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Colony Necklace, 2011

Ebony, silver

12'' × 8'' × 2''

Photo: Taylor Dabney

King of the Road

The creativity of my work lies in the intellectual repositioning of familiar

objects and the physical transformation of material that in the end astonishes

the viewer. It is the profound incongruity between what these works were

made from, and what they are now, that so engages the imagination.

The medium of precious jewelry is now found to be one through which

to explore contradictions and complexities of life from a contemporary

perspective. Jewelry, more than most artifacts, raises issues of value.

Value is measured by how an object fulfills a role and what it means to

someone; one value often symbolizes another sort of value.

ROBERT EBENDORF

SOURCE : Artist’s studio workbench

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Honorable Mention

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King of the Road, 2011

Mixed media

2'' × 2 1/4'' × 3/4''

Photo: Tara Locklear

SANDRA ENTERLINE

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SOURCE : Concept photo for Diamond Window

Photo: Sandra Enterline

Diamond Window

I grew up in Northwestern Pennsylvania; abandoned factories have long

inspired me. They are like hulking industrial cathedrals. Gritty, mysterious,

immense and dark, yet they are strangely fragile and delicate at the same

time. This image was one that inspired me to start working with diamond

sheets and dark oxidized silver. The diamonds are captured in crude

settings, and are like delicate windows that punctuate each setting and

capture light. The windows allow light to pass through each diamond,

irregularly shaped and flawed with inclusions, streaks of grey, black and

yellow. Ultimately, I am searching for the materials in the jewelry to be

simultaneously harmonious and perplexing.

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Diamond Window, 2011

Oxidized sterling, 18k palladium,10k white gold, diamond slices

8 1/2'' × 8 1/2'' × 1/4''

Photo: Mark Johann

DIANE FALK

ENHAGEN

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SOURCE : Cloister Cemetery in the Snow, 1819

Painting by Caspar David Friedrich

Gothic Revival Brooch(The Sublime & the Beautiful)

I’ve always been captivated by gothic architecture and am especially

drawn to the characteristic arches, uber-decorative ceilings and jewel-like

details. The transcendent nature and sheer majesty associated with high

gothic style adds an emotional element to the aesthetic experience.

These feelings, coupled with my ongoing artistic practice of incorporating

imagery into my jewelry, offered the perfect platform for exploring the

theme of transformation.

In Gothic Revival (The Sublime and the Beautiful), I have integrated

two-dimensional pictorial imagery from Caspar David Friedrich’s

19th-century gothic revival painting, Cloister Cemetery in the Snow, into

a three-dimensional sculptural form reminiscent of a gothic structure,

replete with pointed arches and ribbed vaults.

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Gothic Revival Brooch (The Sublime & the Beautiful), 2012

Metal, mixed media

2 1/2'' × 3 1/2'' × 1 5/8''

Photo: Bill Pogue

Thirty 47.41.29

To understand the world around me, I simplify what is complicated and

complicate what is simple. When I make things, I want them to be wondrous

and yet grounded in an honest action. Not a trick, but a puzzle or an optical

illusion—something you can figure out if you look long enough and allow

your seeing to shift.

Thirty 47.41.29 represents two states of action. The action of folding paper

is now dormant, resting in silver, while the copper beads carry potential

action. An arrangement of atoms becomes a necklace; a single flat surface

becomes a convolution of form.

JULIA HEINECCIUS

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SOURCE : Concept photo,the Central Library of theSeattle Public Library,interior

Photo: Julia Heineccius

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Thirty 47.41.29, 2011

Metal, mixed media

8 1/4'' × 6'' × 3/4''

Photo: Julia Heineccius

CAROLINA HORNAUER OLIVA

RES

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SOURCE : Concept sketch for From Ornament to Plain Nº 8

From Ornament to Plain Nº8

During the Chilean earthquake of February 27, 2010, many of the old

historical buildings suffered structurally. Much of the damage was

superficial and these external injuries were repaired in very simplistic and

poor ways. These buildings are an image of the rich past of the city of

Valparaiso, which was influenced by English and German immigrants.

Facades that look bruised and patched are what remains.

A month after the earthquake, I traveled to the main damaged area.

Respectfully, I gathered pieces of wood; all that remains of the modest

houses the tsunami washed away. I have used these pieces just the

way I found them, in their “raw state,” to create a series called

From Ornament to Plain.

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From Ornament to Plain Nº 8, 2011

Wood, silver, copper, eggshell, paint

6 1/2'' × 3 1/2'' × 3/4''

Photo: Antonio Corcuera

Just Imagine…

Heightened self-image, through improved appearance, has allowed people

over the centuries to realize their potential as human beings in order to

influence others, communicate better and gain power.

Feeling beautiful has a powerful effect on attitudes and habits, but it also

has to be in balance with reality. This necklace is based on how a line not

only defines forms, but also creates gaps between them. Each unit wire

construction shows the restrained and calm. The delicacy I achieve is

through the illusory distance created by the unpredictable space between

the wires. Emotions are the essence of the communication. By wearing

this necklace, the wearer begins an emotional interaction with it.

HEEJIN HWANG

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SOURCE : Concept wall texture for Just Imagine…

Photo: Heejin Hwang

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Just Imagine…, 2011

Steel wire, enamel, groundrock, gold leaf

28'' × 8'' × 2''

Photo: Jim Escalante

Parallel World

Under the moonlight there is a gray world. When I take a picture of it,

it shows me different pale colors, which I can’t see with my eyes. It is

mysterious. I look into this vanishing parallel world and keep the

memories.

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SOURCE : Concept photo for Parallel World

Photo: Mari Ishikawa

MARI ISHIKAWA Second Prize

Parallel World, 2011

Silver, Japanese kozo paper

3 1/2'' × 3 5/16'' × 1 3/4''

Photo: Dirk Eisel

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From Egg to Water

There is a wild life refuge near my house and in the spring, I see fussy little

ducklings bopping up and down in the water. They have emerged from

eggs and when their legs are steady, they waddle down to where they can

live and eat. The little bird is about to plunge into the water that it needs

for life. My wearable pieces express the cycle of life through the use of

gems, minerals and images that are hammered into metal.

LINDA KINDLE

R PRIEST

SOURCE : Concept sketch for From Egg to Water

40

41

From Egg to Water, 2011

14k gold, pearl, diamonds, aquamarinecrystal, oxidized silver

3'' × 1 1/4'' × 1/4''

Photo: Gordon Bernstein

Transformation

Transformation evokes a relationship. Beauty evokes a world. It is

everyone’s story and therefore, my story too. The search for beauty allows

for a questioning that does not require an unequivocal answer.

CLA

IRE LAVENDHOMME

42

SOURCE : Concept assemblage and sketchfor Transformation

43

Transformation, 2011

Soapstone, silver, gold, paint

2'' × 1 3/16'' × 9/16''

Photo: Claire Lavendhomme

Neck-Lace

The multitude of shapes and forms I observe daily in nature inspire my

works. I like to explore the interlinking and connective possibilities of

different shapes. I like my chains to come alive on the wearer's body.

For me, this movement and flexibility is performance art on the body.

SEUNG-HEA LEE

44

SOURCE : Concept photos: Pile of Bowls, Sonoma, CA; Stone texture, Marine Nation Park, TaiwanPhotos: Seung-Hea Lee

45

Neck-Lace, 2010

Oxidized silver, pearls

21'' × 7'' × 1/8''

Photo: Myung-Wook Huh

}}}}}}}i{{{{{{{ 11

The landscape we navigate is intrinsically fractured. Our center has

weakened and we are looking for a new middle. Our manner of navigation

is readjusting into a way of life built from the bottom up. It is tempered

with reflection and inventiveness, curiosity and risk—a new heart in the

middle of tribalism, urbanity, science and nature.

There’s a metabolism to my making. My objects are meant to hold a

charge conductive of a situation—as if I am stuffing mixed messages in

bottles and dropping them in gutters, so when someone finds them they

will be right where I was and maybe that will help.

ROBERT LONGYEAR

46

SOURCE : Concept photofor }}}}}}}i{{{{{{{ 11

Photo: Robert Longyear

47

}}}}}}}i{{{{{{{ 11, 2011

Sterling, copper, steel, insulation

2'' × 3 1/2'' × 3 1/2''

Photo: Don Casper

Capsicia

Our natural tendency to seek out patterns results in a sensitivity to the

congruities in biological forms. Deliberate exploitation of these phenomena

effects objects that are both ambiguous and evocative. Some are organs

removed from the body in which they once belonged, revealing structures

with unknown functions. Others are complete specimens tagged with

labels. Signs of dissection, as well as taxonomy, provide evidence of

attempts to demystify these new organisms. This approach, however,

leaves many unanswered questions, and highlights the inherent ethical

compromise in these methods of understanding.

JILLIAN M

OORE

48

SOURCE : Concept sketch for Capsicia

49

Capsicia, 2010

Fabricated & electroformedcopper, polymer clay, resin,paint, ink

8'' × 3 1/2'' × 3 1/2''

Photo: Jillian Moore

How to Wear a Famous Painter

Paintbrushes are the magic wands of imagination—tools of creation in the

hands of visual virtuosos. After a lifetime of translating inspirations onto

canvases, the paintbrush gets its own transformation.

This ring could be called a masterstroke. It is the linchpin in a collection

of jewelry that shines a light on preciousness and beauty, which are often

overlooked in everyday objects. Each of its elements accent the

transformation from tool to jewel. The branch represents the wooden

handle of the paintbrush. Rolled and cast in silver, it carries the setting for

some softer diamonds symbolizing the bristles.

The full transformation happens in the moment when function is

discovered. The tactile secret of the ring is revealed only to the wearer

who dares discover it. Only then has the object truly become reborn.

EMANUELLA DEYA

NOVA

RAMJU

LY

50

SOURCE : Concept sketch for How to Wear a Famous Painter

51

How to Wear a Famous Painter, 2011

Natural hair, Koala hair, alumium, silver, 24k gold

2 3/4'' × 1'' × 1/2''

Photo: Emanuella Deyanova Ramjuly

Interstitial

Interstitial refers to a place between moments. In this work I want to show

the starts and stops by creating a circular neckpiece reflecting a cycle.

Counterclockwise the bottom right starts with an arrow leading the viewer

to the top where there is a tipping point, and then coming around to the

bottom a crescendo of interconnected, volumetric Möbius strips that cycle

back to the origin. The Möbius strips are non-orientable and therefore have

one side, illustrating an additional layer to the cyclical aspect of the piece.

MEGHAN PATRICE RILEY

SOURCE : Concept sketch for Interstitial

52

The Elizabeth R. Raphael Founder’s Prize Winner

Interstitial, 2011

Metal

12'' × 15'' × 1/4''

Photo: Toky Photography

Eins 5

I like the sensitive connection between humans and stones. I find it

interesting that we can hang out in front of a stone for hours, just to look

at it. I like the way we carry them around like treasures. I find it interesting

that we trust in stones so much that we build our houses and walls with

them. I like the stone collages that occur unwanted. I like the way we

set stones in streets. I like how stones help us to remember, as memorials

or gravestones. I like the freedom in stones and the danger, such as

when someone tries to reach the top of a mountain. I like their roughness

and their fragility.

DEBORAH RUDOLP

H

SOURCE : Concept photo for Eins 5

54

55

Eins 5, 2011

Boulder, milky quartz, Kevlar, metal

11 1/4'' × 10'' × 1''

Photo: Deborah Rudolph

Is it precious!

This brooch is about the beauty of aging and imperfection. Like life, I am

constructing (nurturing) and deconstructing (aging).

Starting with perceived perfection, this work lapses into the past exploring

life’s journeys, erosions and experiences. By manipulating materials,

I jolt our expectations of space and form. Though this piece is behind glass

and thus perceived to be precious and protected, it is meant to be

investigated for new memories.

BIBA SCHUTZ

56

SOURCE : Collections

Photo: Biba Schutz

57

Is it precious!, 2011

Oxidized sterling silver, Herkimerdiamond, blown glass, steel

3 3/4'' × 3 1/4'' × 1 1/4''

Photo: Ron Boszko

Transfigure

During the past 10 years, my work has been an investigation of the creative

potential of new technologies and materials. In my exploration of these

contemporary materials, including silicone rubber, I strive to enhance the

materials’ unique and special qualities by revealing the aesthetic beauty of

their characteristics. The flexibility and malleability inherent in silicone

rubber has allowed me to design jewelry that is transformed by the wearer

when placed on the human body.

VICKIE SEDMAN

58

SOURCE : Concept silhouette for Transfigure

59

Transfigure, 2011

Rubber, sterling silver,magnets

16'' × 8'' × 1''

Photo: Vickie Sedman

Elaborate Convolution

My work speaks not specifically to the pieces of metal that it is made

from, but to the volume, connection, separation, space and structure

it evokes. Lenses play the part of space, shifting jewels in a twisted

copper crown and constantly changing shape.

SAMANTHA SKELTON

60

SOURCE : Concept assemblages for Elaborate Convolution

Photos: Samantha Skelton

61

Elaborate Convolution, 2011

Copper, magnifying lenses

20'' × 26'' × 18''

Photo: Jeff Sabo

body in motion: breathe 1

Is it possible to evoke the act of breathing in a static object through

material choices? How might this tune the wearer into the power of their

breath? This brooch explores these and other questions about the

body in motion, and the intimate and personal interaction between the

wearer and the object.

ANIKA SMULO

VITZ

62

SOURCE : Movement notes from journalfor body in motion: breathe 1

63

body in motion: breathe 1, 2011

Sterling silver, repurposed plastic bags

4'' × 3 1/8'' × 3/4''

Photo: Tom McInvaille

in illo tempore

I seek to convey the sublime in my work, to express the mystery and awe

of existence, and to impart this in objects that are intimate and personal.

I look for that point, plane or moment where psychic awareness occurs.

This revealing moment is represented in this most recent work, through

the suggestion of a disturbance or transfer of energy, such as that found

in a wave, which exposes objects whose very existence conjures up

questions of origin and the phenomena of the natural world.

LIN STA

NIONIS

64

SOURCE : Artist digging dinosaur fossil,Montana, 2011

Photo: Alan Detrich

65

in illo tempore, 2012

18k white gold, 18k & 24k yellow gold, Tanzanite, pearls,dinosaur bones (late Cretaceous period, Hell Creek Formation, MT)

3 1/2'' × 3'' × 1''

Photo: Jon Blumb

Bruised, Once Broken

I am fortunate to have experienced transformation in my jewelry over the

last three years through intense exploration and prolific creation of my

craft. Additionally, a myriad of overwhelming events in 2011 caused a

major shift in the way I think about my work and my life. Heartbreak and

loss, accomplishment and success, transition and hope now inform my

process in unexpected ways. This investigation has afforded me the

opportunity to learn from my experiences in a positive manner. My current

work is an autobiography, presenting events from my life in a sculptural,

stylized narrative of line, shape and color.

AMY TAVERN

66

SOURCE : Concept paper maquette for Bruised, Once Broken

Photo: Amy Tavern

67

Bruised, Once Broken, 2011

Sterling silver, spray paint

12'' × 3 1/4'' × 1''

Photo: Hank Drew

On Navigating the Intersectionof Nuances

This work is based on observations and personal experience from my

background in three different cultures and on two different continents.

Exposure to dissimilar cultural mindsets and situations, and active

participation in each, evolves and transforms us. It alters our perspective,

causing unexpected changes in attitude, thinking and communication,

both verbal and nonverbal. Navigating different cultural meaning and

expression can be as tricky and confusing, as it is exciting.

ANDREA W

AGNER

68

SOURCE : Concept sketch for On Navigating the Intersection of Nuances

69

On Navigating the Intersection of Nuances, 2011

Sterling silver, precious metal clay, bone china, paint,ceramic transfers, synthetic resin

2 1/4'' × 2 5/16'' × 1 1/2''

Photo: Joseph Leroux

God Bless America:Commemorative Ribbon

The God Bless America Series turns the prideful objects—American flags,

ribbons and lights—that typically adorn row after row of houses in my

northeastern Philadelphia, blue-collar neighborhood into prominent

monuments made from nostalgic copper coins.

God Bless America Series: Commemorative Ribbon is modeled from an

orange ribbon commemorating the tragic shooting of 21-year-old Billy

Panas Jr., who was shot and killed by an off-duty police officer in the Port

Richmond neighborhood of Philadelphia on November 21, 2009. An unjust

act of police brutality caused his death and in 2012, orange ribbons still

flank the houses of the northeast community in love, respect and support

for their fallen son.

STA

CEY LEE W

EBBER

70

SOURCE : Concept photofor God Bless America:Commemorative Ribbon

Photo: Stacey Webber

71

God Bless America: Commemorative Ribbon, 2011

Pennies

30'' × 12'' × 6''

Photo: Joseph Leroux

Flourishing Vessel

I am interested in patterns of organization and behaviors that emerge in

groups of objects. Some behaviors are so pervasive that they are easily

taken for granted, for example, the tendency of things like tree branches,

vascular systems or population density overlays to split into smaller and

smaller parts towards their extremities. Common patterns like these have

become familiar to us on a fundamental level and inform our innate sense

of aesthetics. In my copper sculptures, I borrow behaviors and transform

them into new and abstract forms; sometimes juxtaposing them over

another, already familiar form. In their new context, the strength of identity

imbues the sculptures with a strange sense of familiarity and order.

LISA W

ILSON

72

SOURCE : Concept rendering forFlourishing Vessel

73

Flourishing Vessel, 2011

Copper, patina

15'' × 7'' × 9''

Photo: Lisa Wilson

Blue Box Series: Beacon

Using a variety of blacksmithing and metal-fabricating techniques,

I design and make objects that explore form, line, surface and function

with uncompromising craftsmanship. They are also the result of my deep

appreciation and fascination with steel. I am drawn to the industrial

history of steel and its working properties, structural shapes, methods of

joinery and the way it patinas with age. I love that when it is heated in the

forge, steel moves like clay; thereby allowing this tough material to be

transformed into elegant and graceful shapes.STEPHEN YUSKO

74

SOURCE : Staffarda Abbey outbuildings, Saluzzo, Italy

Photo: Stephen Yusko

75

Blue Box Series: Beacon, 2011

Forged, fabricated steel

7 1/2'' × 3 3/4'' × 3''

Photo: Dan Morgan

76

FARRAH AL-DUJAILI

Born: Birmingham, England, 1986

Lives: Kidderminster, England

Education

M.A., Jewellery, School of Jewellery, BirminghamCity University, Birmingham, England, 2010

B.A., Jewellery and Silversmithing, School ofJewellery, Birmingham City University, Birmingham,England, 2009

Selected Exhibitions

201125 Years of Galerie Louise Smit, Galerie Louise Smit,Amsterdam, Netherlands

Cominelli Foundation Award Exhibition, FondazioneRaffaele Cominelli, Palazzo Cominelli, Cisano di SanFelice del Benaco, Italy

Inhorgenta, The School of Jewellery, InternationalTrade Fair Centre, Munich, Germany

Mediterraneo International Competition ofContemporary Jewellery, Museo di Storia Naturaledel Mediterraneo, Livorno, Italy

Piece Progressions, Online Exhibition, Crafthaus<crafthaus.ning.com>

Talente, International Trade Fair Centre, Munich,Germany

2010Flux, Brilliantly Birmingham, mac (Midlands ArtCentre), Cannon Hill Park, Birmingham, England

Making Treasure, The School of Jewellery,Birmingham, England

Table Manners, The School of Jewellery,Birmingham, England

2009New Designers, Business Design Centre, London,England

Selected Grants and Awards

2010 Craftsmanship & Design Award, Goldsmiths’Craft & Design Council, London, England

2009 Postgraduate Student Bursary, The WilliamDudley Trust, Birmingham, England

TALYA BAHARAL

Born: Tel-Aviv, Israel, 1955

Lives: Rifton, NY

Education

Self-taught, full-time studio jeweler and sculptor

Selected Solo Exhibitions

2010Solo Exhibition, The Works Gallery, Philadelphia, PA

2008Solo Exhibition, Jewelerswerk Galerie, Washington, DC

2006Solo Exhibition, Velvet da Vinci, San Francisco, CA

2005Big Steel, Little Steel, Solo Exhibition, Society forContemporary Craft, Pittsburgh, PA

2002Solo Exhibition, Obsidian Gallery, Tucson AZ


2011 Juror/Panelist, Sculpture and CraftsFellowships, New York Foundation for the Arts,Brooklyn, NY

2007 Fellowship in Crafts, New York Foundation forthe Arts, Brooklyn, NY

2006 Best of Show, Crafts at the Castle, Boston, MA

2004 Best of Show, Jewelry, American Craft Council,San Francisco, CA

2004 Artist in Residence, Mid Atlantic ArtsFoundation, Society for Contemporary Craft,Pittsburgh, PA

Selected Publications

Baharal, Talya, and Marthe Le Van. 500 SilverJewelry Designs: The Powerful Allure of a PreciousMetal. Lark Books. New York: Sterling Publishing Co.,Inc., 2011.

_____. “Review.” Metalsmith, 2009

MELISSA CAMERON

Born: Perth, WA, Australia, 1978

Lives: Balaclava, VIC, Australia

Education

M.F.A., Jewellery and Metals, Monash University,Melbourne, VIC, Australia, 2009

Postgraduate Diploma of Jewellery Production,Curtin University, Perth, WA, Australia, 2006

B.A., Interior Architecture, Curtin University, Perth,WA, Australia, 2001


2011Itami International Craft Exhibition, Itami Museum ofArts and Crafts, Itami, Japan

Love Lace, International Lace Award, PowerhouseMuseum, Sydney, NSW, Australia

Recontextualizing the Found Object, Slippery RockUniversity, Slippery Rock, PA

Tinker Tailor Soldier Sailor: 100 Women 100 Brooches100 Stories, Gallery Artisan, Brisbane, QLD, Australia

Woollahra Small Sculpture Prize Exhibition, RedleafCouncil Chambers, Sydney, NSW, Australia

2010National Contemporary Jewellery Award Exhibition,Griffith Regional Art Gallery, Griffith, NSW, Australia

Preziosa Young, Contemporary Jewellery, LeopoldineCloister, Firenze, Italy (Traveling)

Return: Five Artisans Return to Their Training Ground,Showcase Gallery, Central Institute of Technology,Northbridge, WA, Australia


2011 Gold Prize, Cheongju International CraftCompetition, Cheongju, Korea

2011 Melbourne Arts Centre Prize, BudaContemporary Australian Silver Exhibition,Castlemaine, VIC, Australia

2011 Visual Arts Board Grant, Australia Council forthe Arts, NSW, Australia

DAVID CHOI

Born: Seoul, South Korea, 1984

Lives: New Paltz, NY

Education

M.F.A., Metals, State University of New York, NewPaltz, NY, 2011

B.F.A., Metals, University of Illinois at Urbana-Champaign, IL, 2009

Fine Arts in Industrial Design, University of Illinois atUrbana-Champaign, IL 2008


201115th Annual Lines into Shapes Art Competition, ArtCenter of Estes Park, Estes Park, CO

A Journey and Harmony Within, Baum Gallery, HeyriArt Valley, South Korea

Jewelers of the Hudson River Valley, Forbes Gallery,Forbes, NY

MANUFRACTURED, Graduate Thesis Show, SamuelDorsky Museum of Art, Allice and Horace Gallery,State University of New York, New Paltz, NY

The Emerging Artist Series Exhibition, Sienna Gallery,Lenox, MA

The Hunter Show, College Art Association RegionalExhibition, Time Square Gallery, NY

The International Graduation Show, Galerie Marzee,Nijmegen, Netherlands

The Opulent Project COSTUME COSTUME, SiennaGallery, Lenox, MA

201020/20, Metal Alumni Exhibition, Link Gallery, School ofArt and Design, University of Illinois, Champaign, IL

5th Annual Intercollegiate Metals Exhibition, StepGallery, Arizona State University, Tempe, AZ

Define Metal and Fiber, Online Exhibition, Crafthaus<crafthaus.ning.com/group/definemetalandfiber>

Metal Inclinations 2, Online Exhibition, Society ofMidwest Metalsmiths <www.smm-metalinclinations.org>

No Boundaries, Juried Student Exhibition, Society ofNorth American Goldsmiths’ Conference (SNAG),Houston, TX

Redefined VI: Back to Basics, The Cole Art Center atthe Old Opera House, Nacogdoches, TX

2009Metal Evolution, Student Exhibition, Society of NorthAmerican Goldsmiths’ Conference (SNAG),Philadelphia, PA

200710.10.10 Broochless Metal Exhibition, NationalOrnamental Metal Museum, Memphis, TN

BFA Metal Exhibition, Link Gallery, School of Art andDesign, University of Illinois, Champaign, IL

Driven, Society of North American Goldsmiths’Conference (SNAG), Memphis, TN


2011 1st Place in Jewelry, 15th Annual Lines intoShapes Art Competition, Art Center of Estes Park,Estes Park, CO

2010, 2007 Educational Endowment Scholarship,Society of North American Goldsmiths (SNAG),Philadelphia, PA

Artist biographies

77

CAPPY COUNARD

Born: Oshkosh, WI, 1970

Lives: Edinboro, PA

Education

M.F.A., Metals, Southern Illinois University,Carbondale, Illinois, 1999

B.S., Art, University of Wisconsin, Madison,Wisconsin, 1992


2012The Art of Influence, Wellington B. Gray Gallery, EastCarolina University, Greenville, NC

2011Torch Song, Nazareth College Arts Center Gallery,Rochester, NY

2010–12Metal Inclinations 2, Online Exhibition,Society of Midwest Metalsmiths<www.smm-metalinclinations.org>

2010Art of the State, The State Museum of Pennsylvania,Harrisburg, PA

Contain: Vessels and the Art of Containment, Luke &Eloy Gallery, Pittsburgh, PA

Seeking/Holding, Two-Person Exhibition, One Bausch& Lomb, Rochester, NY

The Things We Hold, Solo Exhibition, Ronald E. HolsteinGallery, Erie Art Museum, Erie, PA

Topography of Metal, Tap Studios/Gallery M,Cleveland, OH

2006Challenging the Châtelaine!, DesignMuseo, Helsinki,Finland (Traveling, catalogue)

Metalisms: Signature Works in Jewelry &Metalsmithing, Center for Visual Art, MetropolitanState College, Denver, CO

Reinterpreting the Vessel, Perimeter Gallery,Chicago, IL


2007, 2003 Individual Artist Fellowship, PennsylvaniaCouncil on the Arts, Harrisburg, PA

KIM CRIDLER

Born: Grand Rapids, MI, 1968

Lives: Rockford, MI

Education

M.F.A., Metals, State University of New York, NewPaltz, NY, 1993

B.F.A., Fine Arts, University of Michigan School of Art,Ann Arbor, MI, 1989


2011Kim Cridler: My Wisconsin Home, Racine ArtMuseum, Racine, WI

2004Iron Work: Kim Cridler & Cyril Colnik, NorthwesternMutual Gallery, Cardinal Stritch University,Milwaukee, WI

2001Kim Cridler: Persistence & Impossibility, JohnMichael Kohler Arts Center, Sheboygan, WI


2010 Commission, University of Wisconsin, NewAcademic Building, Oshkosh, WI

2010 Vilas Associates Award, The Graduate School,University of Wisconsin, Madison, WI

2004 Visual Arts Fellowship, Wisconsin Arts Board,Madison, WI

1999 Visual Arts Fellowship, Arizona Commission onthe Arts, Phoenix, AZ

1992 Educational Endowment Scholarship, Society ofNorth American Goldsmiths, Philadelphia, PA

Selected Collections

The Arkansas Art Center Decorative Museum of Art,Little Rock, AR

Chazen Museum of Art, Madison, WI

Museum of Fine Arts, Houston, TX

Scottsdale Contemporary Museum of Art,Scottsdale, AZ

LISA CYLINDER

Born: Ft. Chaffee, AR, 1963

Lives: Oley, PA

Education

B.F.A., Jewelry & Metalsmithing, Tyler School of Art,Temple University, Philadelphia, PA, 1985

SCOTT CYLINDER

Born: Allentown, PA, 1964

Lives: Oley, PA

Education

M.F.A., State University of New York, College at NewPaltz, New Paltz, NY, 1988

B.F.A., Jewelry & Metalsmithing, Tyler School of Art,Temple University, Philadelphia, PA, 1985


2011From Minimal to Bling: Survey of ContemporaryStudio Jewelry, Society of Arts & Crafts, Boston, MA

Sculptural Objects, Functional Art (SOFA),Snyderman/The Works Gallery, Navy Pier, Chicago, IL

2010Lisa and Scott Cylinder: Transpositions, Velvet daVinci Gallery, San Francisco, CA

2009From Minimal to Bling: Survey of ContemporaryStudio Jewelry, Society of Arts & Crafts, Boston, MA

2007Sculptural Objects, Functional Art (SOFA),Snyderman/The Works Gallery, Park Avenue Armory,New York, NY

The Art of Tools, Society of Arts & Crafts, Boston, MA

2005The Forest for the Trees, Two-Person Exhibition,Snyderman/The Works Gallery, Philadelphia, PA

Transformation 5: Contemporary Works in FoundMaterials, The Elizabeth R. Raphael Founder’s PrizeExhibition, Society for Contemporary Craft,Pittsburgh, PA

Trashformations East, Fuller Craft Museum,Brockton, MA


2007, 2005 Individual Artist Fellowship, PennsylvaniaCouncil on the Arts, Harrisburgh, PA


Racine Art Museum, Racine, WI

Museum of Arts and Design, New York, NY

The Gregg Museum of Art & Design, North CarolinaState University, Raleigh, NC

DANIEL DI CAPRIO

Born: Albany, NY, 1984

Lives: Richmond, VA

Education

M.F.A., Metal Design, East Carolina University.Greenville, NC, 2009

B.S., Art Education, Nazareth College, Rochester, NY,2006


2011Sculpture Objects & Functional Art (SOFA), ParkAvenue Armory, New York, NY

Sculpture Objects & Functional Art (SOFA), Santa FeConvention Center, Santa Fe, NM

Sparkle Plenty 7, Quirk Gallery, Richmond, VA

2010ITAMI International Craft Exhibition, Museum of Arts& Crafts—ITAMI, Itami, Japan

JOYA: Barcelona Contemporary Jewellery Week,Convent dels Angels, Barcelona, Spain

Lucca Preziosa Young, Villa Bottini, Florence, Italy

Miami International Art Fair, Seafair, Miami Beach, FL

Sculpture Objects & Functional Art (SOFA), Navy Pier,Chicago, IL


2008 Society of North American Goldsmiths (SNAG)“Emerging Artist” guest lecturer, Sculpture Objects &Functional Art (SOFA), Chicago, IL


Amber, Jeannine. “Alicia In Love.” Essence June2011: pp 124, 129, 2011

Dynna, Christer. “Kjøpe eller Løpe?” KunsthåndverkIssue 112 2.2009: pp 18-26, 2009

ROBERT EBENDORF

Born: Topeka, KS, 1938

Lives: Greenville, NC

Education

State School for Applied Arts and Crafts, Oslo,Norway, 1963-64

M.F.A., University of Kansas, Lawrence, Kansas, 1962

B.F.A., University of Kansas, Lawrence, Kansas, 1960


2011CrossOver: Symbiosis of Craft Design andEnvironment, Taipei World Design Expo, AmericanPavilion, Taipei City, Taiwan

La Noche del Broche Exhibition, Equinox Gallery, SanAntonio, TX

Open Mind: History and the New Material,International Contemporary Metal Craft, SungkokMuseum, Seoul, Korea

2010Signs of Life 2010, Facèré Jewelery Art Gallery,Seattle, WA (Catalogue)

2009International Enamels Society Presenters, BlainGallery, Arrowmont School of Arts and Crafts,Gatlinburg, TN

2008International Quartet, Studio Fusion, London, England

2007Contemporary Print in Enamel Exhibition, Center forFine Print Research, University of West England,Bristol, England (Traveling)

2004The Jewelry of Robert Ebendorf, A Retrospective ofForty Years, Racine Art Museum, Racine, WI


2010 North Carolina Award, North CarolinaDepartment of Cultural Resources, Raleigh, NC

1999 Carol Grotes Belk Distinguished Professor, East Carolina Universirt School of Art and Design,Greenville, NC

1995 College of Fellows, American Craft Council,Minneapolis, MN


Le Musee des Arts Decoratifs de Montreal,Québec, Canada

Metropolitan Museum, New York, NY

Mint Museum of Craft Design, Charlotte, NC

Museum of Arts and Design New York, NY

Schmuck Museum, Pforzheim, Germany

The Victoria and Albert Museum, London, England

78

SANDRA ENTERLINE

Born: Oil City, PA, 1960

Lives: San Francisco, CA

Education

B.F.A., Jewelry and Metalsmithing, Rhode IslandSchool of Design, Providence, RI, 1983

Associate Degree, Jewelry and Metalsmithing,Rochester Institute of Technology, School forAmerican Craftsmen, Rochester, NY, 1980


2011Pretty Crude, Solo Exhibition, Velvet da Vinci,San Francisco, CA

2010Brooching the Subject: One of a Kind,The Ogden Museum of Southern Art,University of New Orleans, LA

2009Body/Image, Richmond Center for Visual Arts,Western Michigan University, Kalamazoo, MI

Interiors Revealed, Solo Exhibition, Patina Gallery,Santa Fe, NM

Sparkle Plenty 5, Quirk Gallery, Richmond, VA

2007Challenging the Châtelaine!, DesignMuseo, Helsinki,Finland (Traveling, catalogue)

Glasswear-Glass in Contemporary Jewelry, GlassPavilion, Toledo Museum of Art, Toledo, OH(Traveling, catalogue)

2006Kiff Slemmons Re:Pair & Imperfection, ChicagoCultural Center, Chicago, IL (Traveling, catalogue)


1992, 1988 Visual Artists Fellowship, NationalEndowment for The Arts, Washington, DC



Metropolitan Museum of Art, New York, NY

Museum of Fine Arts, Boston, MA


Renwick Gallery, National Museum of American Artat the Smithsonian Institution, Washington, DC

Victoria & Albert Museum, Seymour RabinovichCollection, London, UK

DIANE FALKENHAGEN

Born: Galveston, TX, 1955

Lives: Galveston, TX

Education

M.F.A., Jewelry/Metalsmithing, University of Houston,Houston, TX, 1981

B.F.A., Jewelry/Metalsmithing, University of NorthTexas, Denton, TX, 1977


2009Signs of Life, Facèré Jewelery Art Gallery,Seattle, WA

2008Content in Contemporary Jewelry Design andMetalsmithing, Landmark Gallery, Texas TechUniversity School of Art, Lubbock, TX

Framing: The Art of Jewelry, Museum ofContemporary Craft, Portland, OR (Traveling)

Metal Inclinations, Online Exhibition, Society ofMidwest Metalsmiths <www.smm-metalinclinations.org>

2006Metalisms: Signature Works in Jewelry andMetalsmithing, Center for Visual Art, MetropolitanState College of Denver, CO

Representations: A Decade of Work by DianeFalkenhagen, Solo Exhibition, National OrnamentalMetal Museum, Memphis, TN

2005Juncture: Physical and Conceptual Connections inContemporary Jewelry, Houston Center forContemporary Craft, Houston, TX

2002Diane Falkenhagen, Poetic Portrayals, SoloExhibition, Susan Cummins Gallery, Mill Valley, CA

2001Solo Exhibition, Sybaris Gallery, Royal Oak, MI

2000Attitude and Action! North American FigurativeJewelry, Birmingham City University, Birmingham,England (Traveling)


2000 Career Development Grant, Alaska State Councilon the Arts, Anchorage, AK


Dorothy Mackenzie Collection of Jewelry &Metalwork, Bowling Green State University, BowlingGreen, OH

JULIA HEINECCIUS

Born: Seattle, WA 1982

Lives: Bloomfield Hills, MI

Education

M.F.A., Metalsmithing, Cranbrook Academy of Art,Bloomfield Hills, MI, 2012

B.F.A., Metals, University of Washington,Seattle, WA, 2006


2011Conspicuous, Monday Spaces, San Francisco, CA

Convergent Currents, Forum Gallery, Cranbrook ArtMuseum, Bloomfield Hills, MI

Monomater, Cranbrook Academy of Art, Departmentof Metalsmithing, Special Exhibition at SculptureObjects & Functional Art (SOFA), Navy Pier,Chicago, IL

PIN Anonimum, Associação Portuguesa de JoalhariaContemporânea, Lisbon, Portugal

Our House, Galerie Louise Smit, Amsterdam,Netherlands

20094+1, Pacini Lubel Gallery, Seattle, WA


2010 Scholarship, Manufacturing Jewelers &Suppliers of America Education Foundation, AttleboroFalls, MA

2010 Sharon Boardway Seattle Metals GuildMatriculated Student Scholarship, Seattle, WA

2010 Merit Scholarship, Cranbrook Academy of Art,Bloomfield Hills, MI

2009 Art Bridge Fellowship, Pratt Fine Arts Center,Seattle, WA

2006 Marilyn Werby Rabinovitch Grant, University ofWashington, Seattle, WA

2006 Book Award, Metals Department, University ofWashington, Seattle, WA

CAROLINA HORNAER OLIVARES

Born: Viña del Mar, Chile, 1977

Lives: Viña del Mar, Chile

Education

Superior Degree, Artistic Jewellery, Escola Massana,Barcelona, Spain, 2006

B.A., Architecture, Universidad Católica deValparaíso, Valparaíso, Chile, 2003


2012Joyaviva: Live Jewellery from Across the Pacific,RMIT Gallery, Melbourne, Australia

2011ABC DISEÑO, Centro Cultural Gabriela Mistral,Santiago, Chile

QUILTRO, New Chilean Jewelery, Centro CulturalPalacio de la Moneda, Santiago, Chile

Think Twice, Bellevue Arts Museum, Bellevue, WA

2010Think Again, Museum of Arts and Design,New York, NY

Walking the Gray Area, Galería Emilia Cohen, MéxicoCity, México

2009Carles Codina and Three Students of EscolaMassana, Galería Ceppi, Santiago, Chile

2008New Traditional Jewellery Award Exhibition, MuseumCODA, Apeldoorn, Netherlands (Traveling)

2007Anti-War Medals, Thomas Mann Gallery I/O, NewOrleans, LA (Traveling)

2006Annual Marzee Graduation Show, Marzee Gallery,Nijmegen, Netherlands

2004Obra y Proceso, Centro de Artesanía de Cataluña,Cataluña, Spain

HEEJIN HWANG

Born: Geochang, Korea, 1979

Lives: Madison, WI

Education

M.F.A., Art Metals, University of Wisconsin,Madison, WI, 2012

M.A., Art Metals, University of Wisconsin,Madison, WI, 2011

M.F.A., Metalwork & Jewelry, Seoul NationalUniversity, Seoul, Korea, 2007

B.F.A., Jewelry & Metalsmithing, KonKuk University,Seoul, Korea, 2004


2012Design MMoCA, Madison Museum of ContemporaryArt, Madison, WI

2011CONNECT: Metals Exhibition, Georgetown Art &Cultural Center, Seattle, WA

Counterflux: Defensive Ornament, G. Gibson Gallery,Seattle, WA

Exhibition in Motion: Object Performed, Bellevue ArtsMuseum, Bellevue, WA

Jewelry + Objects, Midland Center for the Arts,Midland, MI

Magnetic Ornament: MA Exhibition, 7Th Floor Gallery,Madison, WI

Wisconsin Artists Biennial 2011, Anderson ArtsCenter, Kenosha, WI

2010Refined VI: Back to Basics, The Cole Art Center atThe Old Opera House, Nacogdoches, TX

2009Talking Hands-Spectrum of Contemporary MetalWorks, Museum of Art, Seoul, Korea

200715th Silver Triennale, Deutsches Goldschmiedehaus,Hanau, Germany


2011 The Hoover and Strong Scholarship, The Societyof North American Goldsmiths, Eugene, OR

2010 LEAP Award, Finalist, Society for ContemporaryCraft, Pittsburgh, PA

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MARI ISHIKAWA

Born: Kyoto, Japan, 1964

Lives: Munich, Germany

Education

Diplome, Academy of Fine Arts, Munich,Germany, 2001

Masterstudent, Academy of Fine Arts, Munich,Germany, 1999

Studied Jewellery Munich-Academy of Fine Art,Munich, Germany, 2000

Master Degree of Art, Nara University of Education,Nara, Japan, 1986


20114th European Triennial for Contemporary Jewellery,WCC-BF, Anciens Abattoirs, Mons, Belgium

Parallel Worlds, Solo Exhibition, DuetschesGoldschmiedehaus, Hanau, Germany (Traveling)

2010Jueri no ima, Bluecoat Display Centre, Liverpool,England

2009Moon Light Shadow, Solo Exhibition, Villa Bengel,Idar-Oberstein, Germany (Traveling)

2008Des Wahnsinns Fette Beute, Pinakothek derModerne, Munich, Germany

2007Timetales—Lucca Preziosa, Museu Textil i d’indumentària, Barcelona, Spain

Selected Awards and Grants

2010 Bavarian State Award, Munich, Germany

2009 Advancement Award for Applied Arts,Munich, Germany

2000 Herbert-Hofmann-Prize, International Craft Fair,Munich, Germany

2000 Böhmler Art Award, Munich, Germany


Helen W. Drutt Collection, Philadelphia, PA

Hiko Mizuno Collection, Tokyo, Japan

Museo degli Argenti, Palazzo Pitti, Florence, Italy


Schmuckmuseum, Pforzheim, Germany

LINDA KINDLER PRIEST

Born: Lynn, MA

Lives: Bedford, MA

Education

Graduated with honors from The School of theMuseum of Fine Arts, Boston, MA


2011Buds, Blooms & Berries: Plants in Science, Culture & Art, Everhart Museum, Scranton, PA

2010Chased and Repoussee, Velvet Da Vinci Gallery, SanFrancisco, CA

2009One and Only, John Michael Kohler Art Center,Sheboygan, WI,

2008Together Apart, Aaron Faber Gallery, New York, NY�

500 Pendants and Lockets, Velvet Da Vinci Gallery,San Francisco, CA

2007Pins for Men, Facèré Jewelry Art Gallery, Seattle, WA

Shades of Green, Aaron Faber Gallery, New York, NY

2006Signs of Life, Facèré Jewelry Art Gallery, Seattle, WA

Good Bird/Bad Bird, Contemporary Craft Museum,Portland, OR

2005Magnificent Extravagance, Artist & Opulance, Racine Art Museum, Racine, WI

2001Solo Exhibition, Botolph Club, Boston, MA


2010 Excellence in Jewelry Award, CraftBoston,Seaport World Trade Center, Boston, MA

2010 Excellence Award, American Craft CouncilShow, Baltimore Convention Center, Baltimore, MD

2008 Excellence in Jewelry Award, Smithsonian CraftShow, Smithsonian Institution, Washington, DC


Markovitz, Yvonne. Artful Adornments, Jewelry fromthe Museum of Fine Arts, Boston. Boston, MA: MFAPublications, 2011.

Corwin, Nancy Megan. Chasing and Repousse.Brunswick, ME: Brynmorgan Press, 2009.

Le Van, Marthe and Ray Hemachandra. Masters:Gold: Major Works by Leading Artists. Lark Books.New York: Sterling Publishing, Co., Inc., 2009.

CLAIRE LAVENDHOMME

Born: Kinshasha, Congo, 1959

Lives: Brussels, Belgium

Education

Contemporary Jewellery at the Academy of Fine Arts,Arlon, Belgium, 2003

Graduate Degree, The French Community of Belgium,Brussels, Belgium

Jewellery at the Institute of Applied Arts and Crafts,Brussels, Belgium, 2002


2011European Triennial of Contemporary Jewellery,Anciens Abattoirs, WCC•BF, Mons, Belgium

2010International Biennal of Design, Liège, Belgium

2009European Prize for Applied Arts, Anciens Abattoirs,Mons, Belgium

Internationale Handwerksmesse, New Munich TradeFair Centre, Munich, Germany

20080,0203929 tons of steel, Wasserschloss Klaffenbach,Chemnitz/ Deutsches, Klingenmuseum Solingen /Deutsches Goldschmiedehaus Hanau, Germany

European Triennial of Contemporary Jewellery,Anciens Abattoirs, WCC•BF, Mons, Belgium

2007F.Schmetz, C.Lavendhomme, Two-Person Exhibition,Cultural Centre of Marchin, Belgium

Les Sens au Féminin, Musee Charlier, Brussels,Belgium

2005European Triennial of Contemporary Jewellery,Anciens Abattoirs, WCC•BF, Mons, Belgium

2004The Contemporary Jewel in the French Community ofBelgium, ISELP, Brussels, Belgium

SEUNG-HEA LEE

Born: Seoul, Korea, 1969

Lives: Providence, RI

Education

Collegiate Certificate, Sheridan Center for Teachingand Learning, Brown University, Providence, RI, 2007

M.F.A., Rhode Island School of Design, Providence,RI, 1998

B.F.A., California College of Arts and Crafts, SanFrancisco, CA, 1996


2011Mathematical Purity, Shaw Gallery, NortheastHarbor, ME

2010Seung-Hea Lee & Barbara Siednath, Two-PersonExhibition, Alloy Gallery, Newport, RI

Origin, Somerset House, London, England

2009Stimulus, Sienna Gallery, Lenox, MA

2008Framing—The Art of Jewelry, Museum ofContemporary Craft, Portland OR

2007Winter Flora, Solo Exhibition, Loupe Gallery,Montclair, NJ

2006100 Necklaces, Velvet da Vinci Gallery, SanFrancisco, CA

2005Metals Exhibition, Xen Gallery, St. Louis, MO

Artful Jewelry, Hand and Mind Gallery, Seoul, Korea

2004West goes East, Yaw Gallery, Birmingham, MI

2003One & Only: Gift Made by Hand, John Michael KohlerArt Center, Sheboygan, WI

RISD Faculty Biennial, Rhode Island School ofDesign, Museum of Art, Providence RI,


2010 The William F. Kayhoe Memorial Award,Traditional Craft Materials, Richmond, VA

2010 Carol Duke Awards of Excellence, Bellevue ArtsMuseum Craft Show, Bellevue, WA

2009 The Hoover & Strong Award for Designs inPrecious Metals, the Richmond Craft Show,Richmond, VA

2001 The 2nd Cheongju International CraftCompetition, Cheongju, Korea


Le Van, Marthe. 21st Century Jewelry: The Best of500 Series. Lark Books. New York: Sterling PublishingCo., Inc., 2011.

Le Van, Marthe and Ray Hemachandra, Masters:Gold: Major Works by Leading Artists. Lark Books.New York: Sterling Publishing Co., Inc., 2009.

ROBERT LONGYEAR

Born: Emporia, KS, 1977

Lives: St. Louis, MO

Education

M.F.A., Southern Illinois University, Edwardsville, IL,2009

B.F.A., University of Kansas, Lawrence, KS, 2000


2012Suspended, Schmuck 2012, Studio Gabi Green,Munich, Germany

2011A Dubliner Affect, Artists Residency/Installation, BlueDrum, Dublin, Ireland

Fresh: Exhibition in Print, Metalsmith Magazine,National Ornamental Metal Museum, Memphis, TN

Us, in Flux, Lawrimore Project, Seattle, WA

2010DIY: A Revolution in Handicrafts, Society forContemporary Craft, Pittsburgh, PA

Objectified: The Domestication of the Industrial,Honfleur Gallery, Washington, DC

Urban Evolution, Solo Exhibition, Pulitzer Foundationfor the Arts, St. Louis, MO

Urbania, Luke and Elloy, Pittsburgh, PA

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2009A Revisionist’s Draft, Solo Exhibition, Craft Alliance,St. Louis, MO

Sharing Skin, Hoffman LaChance Contemporary, St.Louis, MO


2011 United States Artists Fellowship Nomination,United States Artists <www.unitedstatesartists.org>

2008 Educational Endowment Award, Society forNorth American Goldsmiths, Philadelphia, PA

JILLIAN MOORE

Born: Quincy, IL 1981

Lives: Iowa City, IA

Education

M.F.A., Jewelry and Metal Arts Program, School ofArt and Art History, University of Iowa, Iowa City, IA,2008

B.F.A., Metalsmithing and Jewelry Program, Collegeof Fine Art and Communications, Western IllinoisUniversity, Macomb, IL, 2005


2012The Art of Seduction, Howard Community College ArtGallery, Columbia, MD

2011Nomen Dubium, Solo Exhibition, Appalachian Centerfor Craft, Smithville, TN

Radical Alchemy, Courthouse Galleries of thePortsmouth Museums, Portsmouth, VA,

SP7: Organ/ism, Quirk Gallery, Richmond, VA

Feature, Snyderman-Works Gallery, Philadelphia, PA

2010Play, Quad City Arts, Rock Island, IL

underwaterlove, Schmuckfrage, Berlin, Germany

2009Tributaries IV: Jillian Moore, Solo Exhibition, NationalOrnamental Metal Museum, Memphis, TN


2011 Special Jurors’ Prize, South Seas, Friends ofCarlotta, Zurich, Switzerland

2010 LEAP Award Finalist, Society for ContemporaryCraft, Pittsburgh, PA

2008 Award of Merit, Metal Inclinations, OnlineExhibition, Society of Midwest Metalsmiths<www.smm-metalinclinations.org>

2008 Juror’s Silver Award, Craftforms 2007, WayneArt Center, Wayne, PA

EMANUELA DEYANOVA RAMJULY

Born: Sofia, Bulgaria, 1979

Lives: Amsterdam, Netherlands

Education

Design School Massana, Jewelry design, Barcelona,Spain, 2006

National Academy of Plastic and Fine Arts, Glass &Ceramic, Sofia, Bulgaria, 2001

School of Plastic and Decorative Art, Metal Shapesand Design, Sofia, Bulgaria, 1998


2011Cominelli Foundation Award Exhibition, FondazioneRaffaele Cominelli, Palazzo Cominelli, Cisano di SanFelice del Benaco, Italy

i Box!!, iii Gallery, Brussels, Belgium

Picture This, Zee Zand & Zilver Gallery, The Hague,Netherlands

Vernissage, Wesel Art Gallery, Brussels, Belgium

White, Putti Gallery, Riga, Latvia

2010Cadavers Exquisits, Artesania Catalunya, Barcelona,Spain

Enjoia’t, Setmana de la Joieria, Foment de les Arts idel Disseny (FAD), Barcelona, Spain

How to Wear a Famous Painter, Brussels, Belgium

Juwelen in het Amstel, Amstel Hotel, Amsterdam,Netherlands

Object, Rotterdam, Las Palmas Cultural Building,Rotterdam, Netherlands

Steinbeisser, Lisbon, Portugal

Wrapped Roots, Sieraad Art Fair, Westergasfabriek,Amsterdam, Netherlands (Traveling)

2007, 2006Group Exhibition, Massana Group, Design Centre,Barcelona, Spain

2005Catwalk Formentor, Albercux, Formentor, Palma deMallorca, Spain

2004III Biennale of Contemporary Art, Shipka 6 Gallery,Union of Bulgarian Artists, Sofia, Bulgaria

2000Sky Voices, Museum of International Art, Sofia,Bulgaria


2010 Best Jewellery, N’joyat, Barcelona, Spain

2010 Best Design Stand, Woonbeurs, Amsterdam,Netherlands

MEGHAN PATRICE RILEY

Born: Anaheim, CA, 1980

Lives: New York, NY

Education

B.A., Economics, University of California, Berkeley,CA, 2002

Practique Plastique (Fine Art), Toulouse II Le Mirail,Toulouse, France, 2001

Economie, Toulouse Sciences Politique, Toulouse,France, 2001


2011Conspicuous, Monday Spaces, San Francisco, CA

Craftforms, Wayne Art Center, Wayne, PA

In Line/In Metal, Aaron Faber Gallery, New York, NY

LES Runway Show, Grand Opening, New York, NY

MoVEMENT, 724 Studio, San Francisco, CA

2010Capacity, Solo Exhibition, Lireille Gallery, Oakland, CA

Nexus, Lireille Gallery, Oakland, CA

Retro-Futurism, Society of North AmericanGoldsmiths’ Conference (SNAG), HoustonCommunity College, Houston, TX

2009Urban Rennaissance, ACCI Gallery, Berkeley, CA


2011 Second Prize in Mixed Media Jewelry, DesignerJewelry Showcase, Santa Barbara, CA

2011 Semi-finalist, Ecco Domani Fashion Foundation,Healdsburg, CA


Baharal, Talya, and, Marthe Le Van. 500 SilverJewelry Designs: The Powerful Allure of a PreciousMetal. Lark Books. New York: Sterling PublicationsCo., Inc., 2011.

DEBORAH RUDOLPH

Born: Halle/Saale, Germany, 1980

Lives: Offenbach, Germany

Education

Gemstone and Jewelry Design, University of AppliedSciences, Trier, Germany, 2010

Technical College for Design of Jewelry and Objects,Pforzheim, Germany, 2003


2011Geography, Society of North American Goldsmiths’Conference (SNAG), Seattle, WA

Masala, Eckegalerie, Augsburg, Germany

Schmuck Wander, Gallery Medium Bratislava,Slovakia (Traveling)

Talente, International Trade Fair Centre, Munich,Germany

The Spirit of Stone, South-Karelia Museum,Lappeenranta, Finland

UtraMarine, Noblessner Foundry, Tallinn, Estonia

2010Inhorgenta, The School of Jewellery, InternationalTrade Fair Centre, Munich, Germany

Sculpture Objects & Functional Art Exposition (SOFA),Charon Kranson, Park Avenue Armory, New York, NY

Sculpture Objects & Functional Art Exposition (SOFA),Charon Kranson, Santa Fe Convention Center, SantaFe, NM

Es Lässt Mich Nicht Los, Solo Exhibition, Idar-Oberstein, Germany

Graduate Show, Galerie Marzee, NijmegenNetherlands


2011 Talente Award, Internationale Handwerksmesse,Munich, Germany

2010 Graduate Prize, Galerie Marzee, Nijmegen,Netherlands

2010 Zonta Prize for the Best Diploma in Design,University of Applied Sciences, Trier, Germany

BIBA SCHUTZ

Born: Brooklyn, NY

Lives: New York, NY

Education

B.A., Design, American University, Washington, DC

Printmaking, Pratt Graphics Center, New York, NY

Fiber, Instituto De Allende, San Miguel De Allende,Mexico


2011Crossing Lines—Many Faces of Fiber, CourtyardGallery, World Financial Center, New York, NY

2010Brooching the Subject: One of the Kind, OgdenMuseum of Southern Art, New Orleans, LA

2007Jewelry From Painting And Architecture, MobiliaGallery, Cambridge, MA

Solo Exhibition, Loupe Gallery, Montclair, NJ

2006Friends Across The Ocean, Studio Fusion, London,England

2005Collectors Ireland, National Craft Gallery, Kilkenny,Ireland

2003Adornments, Columbus Museum of Art,Columbus, OH

Planting, Potting and Pruning: Artists and theCultivated Landscape, Racine Art Museum,Racine, WI

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2001Gift In A Box, Art Center-The Korean Culture & ArtsFoundation, Seoul, Korea

2000New Talent In Craft, The Wustum Museum,Racine, WI

Organic Structures, Sienna Gallery, Lenox, MA


2009 Award of Excellence in Jewelry, SmithsonianCraft Show, Smithsonian Institution, Washington, DC

2007 The Adrianne Farelli Prize, Philadelphia MuseumArt Craft Show, Pennsylvania Convention Center,Philadelphia, PA



Renwick Gallery, National Museum of American Artat the Smithsonian Institution, Washington, DC

Rotasa Foundation, Mill Valley, CA

VICKIE SEDMAN

Born: Detroit, MI, 1949

Lives: Jenkintown, PA

Education

M.F.A., Jewelry and Metalsmithing, University ofWisconsin, Madison, WI, 1974

B.F.A., Jewelry and Metalsmithing, Wayne StateUniversity, Detroit, MI, 1971


2011Naples International Contemporary Crafts Exhibition,Longstreth Goldberg Art Gallery, Naples, FL

2009Arms and Armaments, Philadelphia Museum of Art,Philadelphia, PA

Neoteric Matter 2: New Studio Jewelry, WexlerGallery, Philadelphia, PA

2008Art / Industry Exhibition, Pinnacle Gallery, SavannahCollege of Art and Design, Savannah, GA

2006Metalsmiths and Mentors, Chazen Museum of Art,Madison, WI

2005Best of Jewelry with Purpose, Velvet da Vinci, SanFrancisco, CA

1999Solo Exhibition, Janice Epstein Museum Gallery,West Bloomfield, MI

1998EyeCon, John Waldron Arts Center Galleries,Bloomington, IN

1997Formulations: A Metals Invitational, Carroll ReeceMuseum, East Tennessee State University, JohnsonCity, TN

MetalSpeaks: The Unexpected, San Francisco CraftMuseum, San Francisco, CA

1993Contemporary American Metal Working—SculpturalConcerns, Fort Wayne Museum of Art, Fort Wayne IN(Traveling)


2007, 2003, 1997, 1993 Summer Research Fellowship,Temple University, Philadelphia, PA

1988 Fellowship Award, Pennsylvania Council on theArts, Harrisburg, PA


Helen Drutt Collection, Philadelphia, Pennsylvania

Philadelphia Museum of Art, Philadelphia,Pennsylvania

University of Wisconsin, Madison, Wisconsin

SAMANTHA SKELTON

Born: Edinboro, PA, 1987

Lives: Oxford, OH

Education

M.F.A., Metalsmithing, Miami University, Oxford, OH,2012

B.F.A., Metalsmithing, Edinboro University ofPennsylvania, Edinboro, PA, 2009


2011Best of 2011, Ohio Designer Craftsmen, Ohio CraftMuseum, Columbus, OH (Traveling)

Radical Alchemy, Courthouse Galleries of thePortsmouth Museum, Portsmouth, VA

State of Flux—SNAG, Jurors Award, Society forNorth American Goldsmiths, Seattle, WA

2010Emerging Artists: Ohio Connections, Ohio CraftMuseum, Columbus, OH

Magnitude Seven, Manifest Drawing and CreativeResearch Center, Cincinnati, OH

MFA Work, Continuum Gallery, Fort Wayne, IN

20094th Annual Intercollegiate Metals Exhibition, ArizonaState University, Tempe, AZ

Metalsmithing Invitational, Leeds Gallery, EarlhamCollege, Richmond, IN

Pandora’s Box, Target Gallery, Torpedo Factory ArtCenter, Alexandria, VA

The Art of Jewelry, Thomas More College, CrestviewHills, KY

2008Chimera Exhibition, Erie Art Museum, Erie, PA


_____. Chimera: A Journal of Art and Literature.Edinboro University. Edinboro, PA, 2008

Mornu, Nathalie. 500 Felt Objects: CreativeExplorations of a Remarkable Material. Lark Books.New York: Sterling Publications, Co., Inc., 2011

ANIKA SMULOVITZ

Born: Phoenix, AZ, 1974

Lives: Boise, ID

Education

M.F.A., Studio Art, University of Wisconsin, Madison,WI, 2003

M.A., Studio Art, University of Wisconsin, Madison,WI, 2001

B.F.A., Studio Art, University of Oregon, Eugene, OR,1997


2010Contemporary Judaica, Solo Exhibition, Visual ArtsCenter, Gallery One, Boise State University, Boise, ID

Realizing the Neo-Palatial, National OrnamentalMetal Museum, Memphis, TN

Refined VI: Back to Basics, The Cole Art Center at theOld Opera House, Nacogdoches, TX

The Plastic Show, Velvet da Vinci Gallery, SanFrancisco, CA

2009From Minimal to Bling: Contemporary Studio Jewelry,The Society of Arts and Crafts, Boston, MA

RE/ACTION(S), Craft Alliance, St. Louis, MO

Reinventing Ritual: Contemporary Art and Design forJewish Life, The Jewish Museum, New York, NY(Traveling)

2008Craft USA ’08, Silvermine Guild Arts Center, NewCanaan, CT

20072007 Idaho Triennial, Boise Art Museum, Boise, ID(Traveling)

2006The Edges of Grace: Provocative, Uncommon Craft,Fuller Craft Museum, Brockton, MA

2005Cheongju International Craft Biennale 2005, CheongjuArt Center, National Cheongju Museum, Cheongju,Korea


2011 Fellowship, Idaho Commission on the Arts,Boise, ID

2011 Contemporary Northwest Art AwardsNomination, Portland Art Museum, Portland, OR

2010 Grant, The Peter S. Reed Foundation, Inc., NewYork, NY


The Jewish Museum, New York, NY


_____. "Anika Smulovitz", Metalsmith, JuriedExhibition in Print 2006: Breaking the Code, vol. 26,no.4, 42.

_____. "PORTFOLIO: ANIKA SMULOVITZ", AmericanCraft, vol. 65 no. 3, June/July 2005, 57.

Le Van, Marthe. 21st Century Jewelry: The Best of500 Series. Lark Books. New York: Sterling PublishingCo., Inc., 2011.

Le Van, Marthe. 500 Necklaces: ContemporaryInterpretations of a Timeless Form. Lark Books.Sterling Publishing Co., Inc., 2006.

LIN STANIONIS

Born: Long Island, NY, 1954

Lives: Lawrence, KS

Education

M.F.A., Indiana University, Bloomington, IN, 1981

B.F.A., Iowa State University, Ames, IA, 1976


2010Transmutations: Material Reborn, Houston Center forContemporary Craft, Houston, TX

2009Decorative Resurgence, Rowan University ArtGallery, Rowan University, Glassboro, NJ

2007New Traditional Jewellery: Symbols of Faith, CODAMuseum, Apelldorn, Netherlands

2006The Edges of Grace: Provocative Uncommon Craft,Fuller Craft Museum, Brockton, MA

2005Flatware: Function + Fantasy, Sculptural Objects,Functional Art (SOFA), Chicago, IL

2002Bridge 7: Xenobia Bailey, Lin Stanionis, DanaZáme�niková, Society for Contemporary Craft,Pittsburgh, PA

2001OBJECTS FOR USE: Handmade by Design, AmericanCraft Museum, New York, NY

1996American Revelations: A Survey of ContemporaryNorth American Jewelry, Shipley Art Gallery,Gateshead, England (Traveling)


1998 Individual Artist Fellowship, Kansas ArtsCommission, Topeka, KS

1993 Individual Artist Fellowship, Mid-America ArtsAlliance/NEA Fellowship, Baltimore, MD


Indiana University Fine Arts Museum,Bloomington, IN


Le Van, Marthe. 21st Century Jewelry: The Best ofthe 500 Series. Lark Books. New York: SterlingPublishing, 2011.

82

AMY TAVERN

Born: Cooperstown, NY, 1974

Lives: Penland, NC

Education

B.F.A. Metal Design, Post Baccalaureate,University of Washington, Seattle, WA, 2002

B.A. Arts Administration, State University ofNew York, Fredonia, NY, 1996


2011Fresh: Exhibition in Print, Metalsmith Magazine,National Ornamental Metal Museum, Memphis, TN

In Line/In Metal, Aaron Faber Gallery, New York, NY

This is How I Remember It, Solo Exhibition, Velvet daVinci, San Francisco, CA

2010Metal Inclinations 2, Online Exhibition, Society ofMidwest Metalsmiths <www.smm-metalinclinations.org>

2009The Stimulus Project, Sienna Gallery, Lenox, MA


2011 United States Artists Fellowship, United StatesArtists <unitedstatesartists.org>

2009 American Craft Council Searchlight Artist

2009-2012 Resident Artist, Penland School of Crafts,Penland, NC


Baharal, Talya, and Marthe Le Van. 500 SilverJewelry Designs: The Powerful Allure of a PreciousMetal. Lark Books. New York: Sterling Publishing Co.,Inc., 2011.

Kasson Sloan, Susan, and Marthe Le Van. 500 PlasticJewelry Designs: A Groundbreaking Survey of AModern Material. Lark Books. New York: SterlingPublishing Co., Inc., 2009

Snyder, Jeffrey B. Art Jewelry Today 3. Atglen, PA:Schiffer Publishing, Ltd., 2011

ANDREA WAGNER

Born: Freiburg, Germany

Lives: Amsterdam, Netherlands

Education

Diploma Gerrit Rietveld Academy Amsterdam,Netherlands, 1997


2011Subset Synergism—Tales of Migration, GalleryLoupe, Montclair, NJ

2010The Architect Who Faced His ‘Jardin Interieur,Gallery Noel Guyomarc'h, Montreal, Quebec, Canada

2007The Architect Who Faced His ‘Jardin Interieur,Galeria Reverso, Lisbon, Portugal


2009 Artist in Residence, Jakob Bengel Foundation,Idar-Oberstein, Germany

2009, 2002, 2000, 1998 Artist Grant, The NetherlandsFoundation for Visual Arts, Amsterdam, Netherlands

2011, 2007, 2002, 1998 Financial Support, MondriaanFoundation, Amsterdam, Netherlands


Amber Museum, Gdansko, Poland

Museum of Fine Arts, Boston, MA


Montreal Museum of Fine Arts, Montreal, Canada

Museum of Fine Arts, Houston, TX

Textile Museum, Tilburg, Netherlands

STACEY WEBBER

Born: Indianapolis, IN, 1982

Lives: Philadelphia, PA

Education

M.F.A., Metals, University of Wisconsin,Madison, WI, 2008

B.F.A., Metals, Ball State University, Muncie, IN, 2005


201240 Under 40: Craft Futures, Renwick Gallery, NationalMuseum of American Art at the SmithsonianInstitution, Washington, DC

2011Cheongju International Craft Biennale, Cheongju ArtCenter, National Cheongju Museum, Cheongju City,Korea

Philadelphia Museum of Art Craft Show,Pennsylvania Convention Center, Philadelphia, PA

Tributaries: Stacey Lee Webber, National OrnamentalMetal Museum, Memphis, TN

2010Craftforms 2010, Wayne Art Center, Wayne, PA

Dollars and Sense, Annex Gallery, University ofWisconsin, Annex Gallery, Oshkosh, WI

2009American Craft Council Show, Baltimore ConventionCenter, Baltimore, MD

Introductions 5, Irvine Contemporary, Washington, DC

Stacey Lee Webber, Lillstreet Art Center, Chicago, IL


Donohoe, Victoria. “Art, Many Small Masterpieces.”The Philadelphia Inquirer 17 Dec. 2010.

Warren, Ellen. “Art In Chicago, Coin Flip Goes Hip.”Chicago Tribune Apr. 2009: p. 7.

_____. “Jewelry Artist, Doer’s Profile.” LapidaryJournal Nov. 2009: p. 80.

Gans, Jennifer Cross. “Coining Art: Taking CreativeStock of Currency.” Metalsmith Vol. 29 No. 3. 2009:18–19.

Smilie, Eric. “Music, Made on Earth: Stylish Change.”Make 15. 2008: 22.

“Shaping the Future of Craft: 2006 NationalLeadership Conference”, American Craft Council.2007, edited transcripts, 124.

LISA WILSON

Born: Columbus, OH, 1985

Lives: Bloomington, IN

Education

M.F.A., Metalsmithing, Miami University,Oxford, OH, 2010

B.F.A., Metalsmithing and Jewelry Design; Theaterand Drama, Indiana University, Bloomington, IN, 2007


201142nd Mid-States Craft Competition, EvansvilleMuseum of Arts, History & Science, Evansville, IN

Best of 2011, Ohio Craft Museum, Columbus, OH(Traveling)

In Residence 2011, Houston Center for ContemporaryCraft, Houston, TX

2010Best of 2010, Ohio Craft Museum, Columbus, OH(Traveling)

Form, Fabricate, Forge, Southern Illinois UniversityMuseum, Carbondale, IL

Magnitude Seven, Manifest Drawing and CreativeResearch Center, Cincinnati, OH

Refined VI: Back to Basics, The Cole Art Center atThe Old Opera House, Nacogdoches, TX

2009Backyard, Manifest Creative Research Gallery andDrawing Center, Cincinnati, OH

Pandora’s Box, Torpedo Factory Art Center,Alexandria, PA


2011 NICHE Awards Winner, Niche Magazine, TheRosen Group and The Philadelphia Buyers Market ofAmerican Craft, Baltimore, MD

2010 Artist Residency, Houston Center forContemporary Craft, Houston, TX

2010 Ruth Arden Memorial Award for Excellence inFine Craft, Ohio Designer Craftsmen, Columbus, OH

2009 Pamela Morris Thomford Award for Excellencein Metals, Ohio Designer Craftsmen, Columbus, OH

2006 The Alma R. Eikerman Scholarship forOutstanding Achievement in Metalsmithing andJewelry Design, Indiana University, Bloomington, IN

2006 Women’s Jewelry Association Scholarship,Women’s Jewelry Association, Chicago Ridge, IL

STEPHEN YUSKO

Born: Dover, DE, 1965

Lives: Cleveland, OH

Education

M.F.A., Metalsmithing, Southern Illinois University,Carbondale, IL, 1999

B.F.A., Sculpture, Minors in Metalsmithing and ArtHistory, University of Akron, Akron, OH, 1990

Selected Recent Exhibitions

2011–2012Cast, Cut, Forged and Crushed: Selections in Metalfrom the John and Robyn Horn Collection, ArkansasArts Center, Little Rock, AR

2011Re-new, Solo Exhibition, William Busta Gallery,Cleveland, OH

2010–2011Craft Forms 2010, Wayne Art Center, Wayne, PA

2010–2012Iron: 2010, National Ornamental Metal Museum,Memphis, TN (Traveling)

Iron: Forged Tempered Quenched, Houston Center forContemporary Craft, Houston, TX

Modes of Making: Contemporary Studio Furniture,Society of Arts and Crafts, Boston, MA

2007Crossover: Combining Traditions, Emily Davis Gallery,University of Akron, Akron, OH

200627th Annual Contemporary Crafts Exhibition, MesaContemporary Arts, Mesa, AZ

2001Ancient Futures: The Art of the Blacksmith at the 3rdMillennium, Nova Scotia Centre for Craft + Design,Halifax, NS, Canada


Snyder, Jeffery B. Ironwork Today 3, Inside Out.Atglen, PA: Schiffer Publishing, Ltd., 2011. McCreight,Tim. The Metalsmith’s Book of Boxes and Lockets.Madison, WI:GUILD Publishing, 2011.

Selected Awards/Honors

2011 Creative Workforce Fellowship, CommunityPartnership for Arts and Culture, Cuyahoga County,OH

2011 Finalist, NICHE Awards, Niche Magazine, TheRosen Group and the Philadelphia Market ofAmerican Craft, Baltimore, MD

2005 Best of Show, Resources: Coal, Steel, Rubberand Salt

Documents

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